Artistic Statement
I make theatre by building it from the ground up.
My work starts with questions—usually about power and language. From there, I collaborate with an ensemble to generate material through writing, movement, and research. I’m less interested in starting with a finished script and more interested in discovering the piece through the process of making it.
I’m drawn to work that sits at the intersection of performance and real-world systems, especially politics, societal norms, and censorship. In "Echoes of Justice", that meant constructing a theatrical Supreme Court hearing using adapted legal language, devised text, and physical storytelling to examine how art is judged and controlled.
Visually and structurally, I’m interested in pushing what theatre can do without losing the live, human element. I often integrate projection, sound, and immersive design—but not as replacements for performance. Instead, they expand what the stage can hold, creating environments that support the emotional and political stakes of the work.
At its core, my work is about urgency. I want to create theatre that feels like it has to exist right now—work that reflects the world we’re living in while also asking audiences to question it.
My work starts with questions—usually about power and language. From there, I collaborate with an ensemble to generate material through writing, movement, and research. I’m less interested in starting with a finished script and more interested in discovering the piece through the process of making it.
I’m drawn to work that sits at the intersection of performance and real-world systems, especially politics, societal norms, and censorship. In "Echoes of Justice", that meant constructing a theatrical Supreme Court hearing using adapted legal language, devised text, and physical storytelling to examine how art is judged and controlled.
Visually and structurally, I’m interested in pushing what theatre can do without losing the live, human element. I often integrate projection, sound, and immersive design—but not as replacements for performance. Instead, they expand what the stage can hold, creating environments that support the emotional and political stakes of the work.
At its core, my work is about urgency. I want to create theatre that feels like it has to exist right now—work that reflects the world we’re living in while also asking audiences to question it.
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Christian Pierce Kahl
Artistic Statement
I make theatre by building it from the ground up.
My work starts with questions—usually about power and language. From there, I collaborate with an ensemble to generate material through writing, movement, and research. I’m less interested in starting with a finished script and more interested in discovering the piece through the process of making it.
I’m drawn to work that sits at the intersection of performance and real-world systems, especially politics, societal norms, and censorship. In "Echoes of Justice", that meant constructing a theatrical Supreme Court hearing using adapted legal language, devised text, and physical storytelling to examine how art is judged and controlled.
Visually and structurally, I’m interested in pushing what theatre can do without losing the live, human element. I often integrate projection, sound, and immersive design—but not as replacements for performance. Instead, they expand what the stage can hold, creating environments that support the emotional and political stakes of the work.
At its core, my work is about urgency. I want to create theatre that feels like it has to exist right now—work that reflects the world we’re living in while also asking audiences to question it.
My work starts with questions—usually about power and language. From there, I collaborate with an ensemble to generate material through writing, movement, and research. I’m less interested in starting with a finished script and more interested in discovering the piece through the process of making it.
I’m drawn to work that sits at the intersection of performance and real-world systems, especially politics, societal norms, and censorship. In "Echoes of Justice", that meant constructing a theatrical Supreme Court hearing using adapted legal language, devised text, and physical storytelling to examine how art is judged and controlled.
Visually and structurally, I’m interested in pushing what theatre can do without losing the live, human element. I often integrate projection, sound, and immersive design—but not as replacements for performance. Instead, they expand what the stage can hold, creating environments that support the emotional and political stakes of the work.
At its core, my work is about urgency. I want to create theatre that feels like it has to exist right now—work that reflects the world we’re living in while also asking audiences to question it.